SPANISH  PORCELAINS 

AND 

TERRA  COTTAS 


IN  THE  COLLECTION  OF 

THE  HISPANIC  SOCIETY  OF  AMERICA 


BY 

EDWIN  ATLEE  BARBER,  PH.D. 

Director  of  the  Pennsylvania  Museum  and  School  of  Industrial  Art 
Philadelphia,  Pa. 


THE  HISPANIC  SOCIETY  OF  AMERICA 
156th  STREET,  WEST  OF  BROADWAY 
NEW  YORK,  1915 


<£  G - 'S 
/32.3Z. 


FRANKLIN  INSTITUTE  LIBRARY 

PHILADELPHIA,  PA. 


Class  Book-  M2..3.Z  Accession  Z730.3 

Given  by  72J..C..  <Sh.ci  ejfy.. . fp£..Qim.e.T/ca 


PUBLICATIONS  OF 

THE  HISPANIC  SOCIETY  OF  AMERICA 


No.  93 


Candelabrum 
Buen  Retiro  Porcelain 
/c  « _ About  1780 

(See  Nos.  ,3  and  14,  pages  a,  and  aa) 


SPANISH  PORCELAINS 

AND 

TERRA  COTTAS 

IN  THE  COLLECTION  OF 

THE  HISPANIC  SOCIETY  OF  AMERICA 


BY 

EDWIN  ATLEE  BARBER,  PH.D. 

Director  of  the  Pennsylvania  Museum  and  School  of  Industrial  Art 
Philadelphia,  Pa. 


THE  HISPANIC  SOCIETY  OF  AMERICA 
156th  STREET,  WEST  OF  BROADWAY 
NEW  YORK,  1915 


Copyright,  1915,  by 

The  Hispanic  Society  of  America 


SPANISH  PORCELAINS 


AND 

TERRA  COTTAS 


77303 


SPANISH  PORCELAINS 
AND  TERRA  COTTAS 


INTRODUCTORY  NOTES 

WHEN  Charles  III.  succeeded  to  the  throne  of 
Spain,  in  1759,  many  of  the  best  artists  and 
workmen  from  the  Capo  di  Monte  factory  were 
taken  from  Naples  for  the  purpose  of  establishing 
a similar  fabrique  at  Madrid. 

Riano,*  who  had  access  to  the  documents  pre- 
served in  the  State  archives,  states  that  before  the 
king  departed  from  Naples,  “he  ordered  the  follow- 
ing letter  to  be  written  to  the  Secretary  of  State, 
Richard  Wall,  on  September  11,  1759:  ‘Likewise  the 
workmen  and  utensils  used  at  the  royal  manufactory 
of  porcelain  of  Capo  di  Monte  must  be  embarked 
from  Naples  to  Alicant,  in  the  vessels  prepared  for 
that  purpose,  in  order  to  continue  from  there  the 


The  Industrial  Arts  in  Spain. 

[5] 


journey  to  Madrid.  The  necessary  conveyances  are 
to  be  provided,  and  the  expenses  to  be  charged  to 
his  Majesty’s  account.’  ” 

Riano  gives  a list  of  names  of  fifty-two  model- 
ers, painters  and  workmen,  who  arrived  from  Naples. 
The  spot  selected  for  the  porcelain  manufactory  was 
inside  the  gardens  of  the  royal  palace  at  Buen  Retiro, 
in  the  vicinity  of  Madrid. 

Quoting  from  Riaho : “Larruga,  in  his  ‘Memo- 
rias,’  says  that  as  soon  as  the  building  was  finished 
(in  1760),  china  was  made  under  the  superintendence 
of  Don  Cayetano  Schepers;  the  works,  during  his 
superintendence,  proved  very  unsatisfactory,  to  his 
great  astonishment,  as  the  same  process  and  work- 
men were  employed  as  at  Naples.  Schepers  attrib- 
utes it  to  squabbles  between  the  Spanish  and  Italian 
workmen.  Sebastian  Schepers,  from  1783,  a son  of 
Cayetano’s,  tried  various  experiments  with  different 
clays  of  the  country. 

“The  porcelain  made  at  Buen  Retiro  was  kept 
for  the  first  thirty  years  for  the  exclusive  use  of  the 
royal  family,  or  to  be  sent  as  presents  to  foreign 
courts.  Nothing  was  offered  for  sale  until  January, 
1789,  after  Charles  Ill’s  death,  1 788,  when  Charles 
IV.  determined  that  the  china  manufactured  at  Buen 
Retiro  might  be  sold.  Even  in  Spain  the  specimens 

[6] 


of  this  china  are  very  scarce ; it  is  only  at  the  palaces 
of  Madrid,  Aranjuez,  the  Escorial  and  La  Gran j a 
that  an  idea  can  be  formed  of  the  perfection  of  this 
manufacture. 

“Every  kind  of  porcelain  was  made  at  Buen 
Retiro,  hard  and  soft  paste,  white  china,  glazed  or 
unglazed,  or  painted  and  modelled  in  the  style  of  Capo 
di  Monte.  A great  many  existed  imitating  the  blue 
jasper  of  Wedgwood,  and  they  also  made  flowers, 
coloured  and  biscuit,  groups,  and  single  figures,  and 
painted  porcelain  of  different  kinds.  . . . The 

finest  specimens  which  exist  are  in  the  Neapolitan 
style,  and  are  two  rooms  at  the  palaces  of  Madrid 
and  Aranjuez  of  which  the  walls  are  completely  cov- 
ered with  china  plaques  and  looking-glasses,  modelled 
in  the  most  admirable  manner  with  figures,  fruits, 
and  flowers.  The  room  at  Aranjuez  is  covered  with 
a bold  ornamentation  of  figures  in  the  Japanese  style, 
in  high  relief,  painted  with  colours  and  gold  with  the 
most  exquisite  details.  The  figures  unite  the  fine 
Italian  modelling  with  the  Japanese  decoration.  The 
chandelier  is  in  the  same  style.  Upon  a vase  on  the 
wainscot  to  the  right  of  the  entrance  door  is  the  fol- 
lowing inscription : 


[7] 


JOSEPH 

GRICCI 

DELINEAVit 

ET 

SCULit 

1763- 

This  same  date  is  repeated  in  the  angles,  and  in  some 
shields  near  the  roof  we  find, 

ANO 

1765; 

probably  the  year  the  work  was  terminated.  . . 

‘‘From  the  establishment  of  the  manufactory  in 
1759  by  Charles  III.  until  1803  the  styles  adopted  at 
Capo  di  Monte  had  been  followed.  At  the  beginning 
of  this  century  Dn.  Bartolome  Sureda  went  to  Paris 
to  learn  the  manner  in  which  Sevres  porcelain  was 
made.  On  his  return  in  1803  he  was  appointed 
director  of  the  works  at  Buen  Retiro  and  endeav- 
oured to  imitate  the  paste  and  brilliancy  of  decora- 
tion of  Sevres.  Two  workmen  came  over  from 
Paris  — Victor  Perche  and  Vivien. 

“When  the  French  made  their  entry  into  Madrid 
in  the  spring  of  1808  they  took  possession  of  the 
position  occupied  by  the  royal  manufactory.  In  July 

[8] 


of  the  same  year  it  continued  in  the  hands  of  the 
French,  who  forced  open  the  doors  of  the  labora- 
tory. Porcelain  continued,  however,  to  be  made 
there  during  the  reign  of  Joseph  I. ; we  find  in 
‘Travels  through  Spain  and  part  of  Portugal/  Lon- 
don, 1808,  p.  23,  that,  the  author  says,  ‘the  gardens 
of  the  Buen  Retiro  are  open  to  the  public.  In  the 
neighbourhood  of  these  the  royal  porcelain  manufac- 
ture is  carried  on  in  a large  white  building/  Lord 
Blayney,  in  his  ‘Narrative  of  a Journey  through 
Spain  and  France  in  1810-1814/  London,  1814,  says 
that  ‘the  royal  manufactures  of  tapestry  and  porce- 
lain have  declined  since  the  death  of  Charles  III.  and 
have  now  entirely  ceased.' 

“We  find  in  ‘Paseos  por  Madrid/  Madrid,  1815- 
8,  p.  87,  it  stated  that  ‘The  English,  at  the  second 
entry  of  our  troops  in  Madrid,  ruined  this  building 
in  order  that  it  should  not  be  used  as  a fortress  by 
the  French  troops/ 

“Richard  Ford,  in  his  ‘Handbook  for  Travellers 
in  Spain/  London,  1845,  says,  ‘Everything  was  de- 
stroyed by  the  invaders,  who  turned  the  manufactory 
into  a fortification,  which  surrendered  with  200  can- 
non, Aug.  14th,  1812,  to  the  Duke  of  Wellington. 
Ferdinand  VII.,  on  his  restoration,  re-created  La 

[9] 


China,  removing  the  workshops  and  ware  rooms  to 
the  Moneloa.’  ”* 

Writers  on  ceramic  art  have  followed  each  other 
in  the  assertion  that  the  porcelain  of  Buen  Retiro 
presents  many  points  of  similarity  in  paste  and  glaze 
to  that  of  Capo  di  Monte,  since  the  modelers,  deco- 
rators, and  potters  brought  from  that  factory  to 
Spain  by  Charles  III.  would  probably  continue  to 
pursue  the  same  methods  there.  This  supposition, 
however,  is  entirely  at  variance  with  the  facts,  since 
both  the  pate  tendre,  or  soft  paste,  and  the  later  hard 
paste  of  the  two  establishments  are  quite  dissimilar 
in  appearance  and  color,  the  result  of  different  con- 
ditions and  environment.  The  clays  and  other  mate- 
rials found  available  for  the  manufacture  in  Spain 
were  of  an  entirely  different  quality  from  those  used 
in  Italy. 

The  early  soft  paste  of  Buen  Retiro  is  more 
diaphanous  than  that  of  Capo  di  Monte,  which  latter 
is  whiter  and  more  chalky  in  appearance.  The  for- 
mer possesses  more  of  a waxy  quality  than  is  found 
in  other  pate  tendre  porcelains,  and  is  frequently  of 
a pronounced  greenish  tint.  The  decorations  are 
subdued  in  coloring,  a rose  or  lake  being  particularly 

*Moncloa,  near  Madrid. 

[10] 


characteristic.  Another  marked  peculiarity  is  the 
gilded  traceries  around  the  edges.  Later  on,  the  soft 
paste  became  whiter  and  coarser  in  texture.  The 
hard  paste  porcelain  of  Buen  Retiro  likewise  bears 
no  resemblance  to  that  of  Naples,  being  of  a much 
whiter  tint  and  of  finer  texture.  Since  some  of  the 
modelers  and  painters  worked  at  both  factories,  there 
is  more  or  less  similarity  in  the  treatment  of  groups 
and  figures  produced  at  both  establishments,  and  in 
their  decoration.  It  is  necessary,  therefore,  to  study 
the  pastes  to  distinguish  the  one  product  from  the 
other. 


[Hi 


CATALOGUE 


I 

PORCELAIN  OF  THE  BUEN  RETIRO, 
MADRID,  SPAIN 


1-8.  PLATES  (8) 

Diameter,  io  inches. 

Artificial  soft  paste  (fritted),  thick  and 
heavy.  Waving,  hexagonal  outline.  Decorated 
with  floral  designs  in  colors,  touched  with  gold. 
A heavy  line  of  gold  bordering  the  guttered 
edge.  On  back  the  fleur-de-lis  mark  in  blue. 
About  1770.  Plate  1 

9.  SNUFF  BOX 

Diameter,  2^4  inches. 

Artificial  soft  paste.  Modeled  in  form  of 
shells  overlapping  each  other  in  hemispherical 
form,  with  flattened  lid  in  the  semblance  of  a 
clam  shell.  Small  shells  in  relief  scattered  over 
the  surface  and  covered  with  gold.  Interior  of 
box  solidly  gilded.  The  inside  of  the  gold- 

[13] 


mounted  and  hinged  lid  is  covered  with  a figure 
scene  painted  in  subdued  coloring  — a lady  with 
fan  conversing  with  a gentleman ; trees  in  back- 
ground. 

Early  period,  1760-1770.  Plate  II 

SNUFF  BOX 

Diameter,  3 inches. 

Artificial  soft  paste.  Conventionalized  shell 
form,  standing  on  narrow  flattened  base  on  which 
is  a miniature  painting  of  Apollo  riding  a dolphin, 
followed  by  other  dolphins.  The  outside  of  the 
gold  hinged  lid  is  covered  with  small  sea-shells 
in  colored  relief.  Interior  of  the  box  solidly 
gilded.  The  inside  of  lid  is  painted  with  a 
marine  figure  scene  — The  Loves  of  the  Sea 
Gods  — a sea  monster  with  human  body  and 
head  bearing  away  a woman,  while  an  amorino 
is  seated  on  the  monster’s  tail,  and  at  the  left  a 
satyr  is  blowing  a conch  shell. 

Early  period,  1760-1770.  Plate  II 

FIGURE 

Height,  7^4  inches. 

Artificial  soft  paste.  A crouching  woman 
seated  on  a rock,  with  upraised  hand  holding  a 
key.  In  front,  a large  tureen  or  vase  with  cover 
raised  in  front,  for  holding  comfits.  Fleur-de-lis 
mark  in  blue  on  base. 

Late  period,  1780-1790. 

[14] 


Plate  III 


i-8.  Porcelain  Plate 
Buen  Retiro,  about  1770 


Plate  II 


io.  Snuff  Box 
Buen  Retiro 


ii.  Comfit  Box 
Buen  Retiro 


. GROUP 


Height,  6x/2  inches. 

Artificial  soft  paste.  Figures  of  a man  and 
woman  standing  on  either  side  of  a rectangular 
pedestal,  representing  Summer  and  Autumn. 
The  woman  carries  in  her  caught-up  skirt  a 
bundle  of  wheat.  The  man  holds  in  one  hand, 
supported  by  the  pedestal,  a vase,  while  in  the 
other  he  holds  aloft  a bunch  of  grapes.  The 
robes  of  the  figures  are  touched  with  gold  and 
blue,  while  the  flesh  parts  are  delicately  stippled. 
The  front  of  the  pedestal  is  decorated  with  a 
bird  and  foliage  in  heavy  gilding  on  a dark  blue 
ground,  surrounded  by  a frame  in  relief  gilding. 
Mark  on  base,  a fleur-de-lis  in  blue. 

Late  period,  1780-1790.  Plate  IV 

CANDELABRUM 

Height,  22^2  inches. 

Artificial  soft  paste.  A cylindrical  column, 
standing  on  a plinth  6/4  inches  square,  support- 
ing three  arms  surmounted  by  a slender  three- 
sided  pyramid  of  porcelain  decorated  with  con- 
ventional arabesque  designs  in  colors.  The  three 
bobeches  are  of  porcelain  at  the  ends  of  the 
ormolu  arms.  The  column  is  painted  in  brown 
with  the  figure  of  a man  wearing  a cape  and 
boots,  and  blowing  a double  pipe.  On  reverse 
the  head  of  a man  in  brown  surrounded  by  a 
gold  frame,  and  scrolled  ornamentation  in  col- 
[21] 


ors.  Ormolu  mounts  at  base  and  top  of  column 
and  at  point  of  pyramid.  On  base  fleur-de-lis 
mark  in  blue. 

Louis  XVI.  period,  about  1780.  See  Frontis- 
piece. 

14.  CANDELABRUM 

* Companion  to  preceding.  Similarly  deco- 
rated, except  the  subject  of  the  front  panel  of 
the  column,  on  which  is  a man  with  raised  wand 
and  at  his  feet  a bird. 

15,  16.  VASES  (Pair) 

Height,  8J4  inches. 

Artificial  soft  paste.  Broad,  inverted  pear 
shape.  Sides  vertically  ribbed  by  overlapping 
strips.  Handles  in  form  of  grape  stalks,  with 
vines  and  clusters  of  grapes  in  natural  colors 
and  full  relief,  extending  around  the  neck.  On 
base  the  fleur-de-lis  mark  in  blue. 

Late  period,  1780-1790.  Plate  V 

1 7.  VASE 

Height,  i8^4  inches. 

Artificial  soft  paste,  of  waxy  quality.  Jar 
with  dome-shaped  cover.  Decorated  with  figure 
scene,  painted  in  deep  rose  or  lake  — a woman 
leaning  against  a tree,  with  a distaff  in  her  hand. 
A naked  boy  asleep  at  her  side,  a man  reclining 
[22] 


Plate  IV 


12.  Group  (Summer  and  Autumn) 

Buen  Retiro 


Plate  V 


15,  16.  Pair  of  Porcelain  Vases 
Buen  Retiro,  1780-1790 


Plate  VI 


17.  Vase  (Two  Views) 

Buen  Retiro,  1760-1765 


on  the  ground,  with  flute  in  hand.  On  reverse 
a boy  asleep  at  the  base  of  a ruined  wall,  with  a 
guitar  beside  him,  while  a woman  watches  near 
by.  Around  neck  and  edge  of  cover  gilded 
traceries,  which  are  characteristic  of  this  period. 
On  base  fleur-de-lis  in  blue. 

Early  period,  1760-1765.  Plate  VI 


II 

CAPO  DI  MONTE 

The  complete  history  of  the  porcelain  manufac- 
tory projected  at  Capo  di  Monte,  near  Naples,  Italy, 
in  1739,  by  Charles  Bourbon,  Duke  of  Parma  and 
King  of  Naples  and  Sicily,  has  yet  to  be  written.  It 
is  known  that  experiments  in  clays  and  pastes  were 
carried  on  for  several  years  before  the  buildings  were 
finished  and  the  making  of  porcelain  began,  which 
was  not  until  1743.  The  first  period  extended  from 
that  date  until  1759,  when  Charles  succeeded  to  the 
throne  of  Spain.  Artificial  soft  paste  porcelain  was 
first  attempted,  but  it  is  uncertain  whether  the  manu- 
facture of  hard  paste  was  commenced  under  the 
patronage  of  Charles  III.  or  at  a later  date. 

The  second  period  began  in  1760,  under  Ferdi- 
nand IV.  of  Naples,  son  of  Charles  III.  On  the 
departure  of  the  latter  for  Spain  in  1759,  the  Capo 

[29] 


di  Monte  works  were  dismantled  and  partially  de- 
stroyed. The  manufacture  does  not  appear  to  have 
been  resumed  there,  but  a sufficient  amount  of  ware 
remained  on  hand  to  supply  the  demand  for  several 
years. 

In  1771  the  new  porcelain  works  were  established 
at  Portici,  some  five  miles  southeast  of  Naples,  on 
the  bay.  In  the  following  year  plans  were  prepared 
for  the  removal  of  the  works  to  Naples,  which  was 
accomplished  soon  after. 

During  the  second  period  (1759-1821),  hard 
paste  porcelain  was  manufactured  in  great  abundance, 
and  the  production  of  soft  paste  continued  only  in  a 
spasmodic  manner. 

The  mark  most  commonly  used  on  the  soft  paste 
of  the  early  period  of  Capo  di  Monte  was  the 
crowned  N.  It  was  seldom,  if  ever,  used  on  the  hard 
paste,  decorated  with  reliefs,  of  the  second  period, 
which  latter  does  not  appear  to  have  been  marked  at 
all.  Modern  forgeries  of  this  late  ware,  however, 
are  almost  invariably  so  marked,  and  the  presence 
of  this  mark  on  hard  paste  is  an  almost  infallible 
indication  that  the  piece  is  a forgery. 

In  the  books  on  potters’  marks  the  fleur-de-lis  is 
given  as  one  of  the  early  Capo  di  Monte  marks,  but 
there  seems  to  be  little,  if  any,  basis  for  this  suppo- 
sition. In  our  many  years  of  study  of  Capo  di  Monte 
wares  we  have  never  seen  a single  example  so  marked. 

The  hard  porcelain  of  the  second  period,  or  late 
eighteenth  century,  possesses  several  distinguishing 

[30] 


Plate  VII 


18.  Group  (Christ  Mourned) 
Capo  di  Monte 


Plate  VIII 


19.  Group  (The  Empty  Tomb) 

Capo  di  Monte 


characteristics  by  which  it  may  be  readily  recognized. 
The  paste  is  rather  coarse  and  the  glaze  is  of  a gray- 
ish or  bluish-green  tint,  which,  when  placed  in  com- 
parison with  pure  white  porcelain,  as  that  of  Sevres, 
is  quite  pronounced.  The  relief  decorations  are  well 
modeled,  clear  cut  and  sharp,  the  human  figures  being 
slender  and  elongated,  while  the  flesh  tints  are  daintily 
stippled,  as  in  miniature  painting.  Where  gilding  is 
used,  it  is  found  to  be  applied  over  red  color,  in  the 
manner  of  Italian  and  French  furniture  of  the  eight- 
eenth century. 

Two  fine  groups  of  hard  paste  Capo  di  Monte, 
made  in  the  latter  half  of  the  eighteenth  century, 
after  the  works  had  been  re-established  at  Naples, 
are  exhibited  in  connection  with  the  Buen  Retiro 
porcelain,  as  prototypes  of  the  latter  and  for  pur- 
poses of  comparison. 

18.  GROUP  (CHRIST  MOURNED) 

Length,  25  inches ; width,  gl/2  inches ; height,  15  inches. 

The  dead  Christ  recumbent,  the  weeping 
Mary  seated  above  Him  on  a rock,  in  the  atti- 
tude of  bending  down  and  looking  into  His 
face,  one  arm  outstretched  behind  her,  the  other 
holding  a napkin  with  which  to  wipe  away  the 
blood.  At  His  feet  an  angel  is  kneeling  with 
outstretched  arms. 

The  figures  are  beautifully  modeled  and 
evidently  the  work  of  a noted  sculptor.  The 

[35] 


coloring  is  exquisite  in  tone,  the  flesh  tints  being 
delicately  stippled.  Mary  wears  a dark  red 
garment  over  which  is  a purple  robe  which  has 
fallen  to  her  waist.  The  angel  wears  draperies 
of  green  and  white,  lined  with  purple.  The 
figure  of  Christ  is  partially  covered  with  a white 
drapery.  The  gilding,  which  edges  Mary’s  head- 
dress and  robe,  is  applied  over  red,  in  the  usual 
Capo  di  Monte  manner. 

Hard  paste  porcelain  of  grayish  tint.  Capo 
di  Monte  of  the  second  period.  Unmarked. 
Late  eighteenth  century.  Plate  VII 

19.  GROUP  (THE  EMPTY  TOMB) 

Length,  26  inches;  width,  14^  inches;  height,  27  inches. 

Christ’s  sepulchre,  or  empty  tomb,  of  rec- 
tangular form,  standing  on  four  rococo  modeled 
feet.  The  cover  is  raised  at  one  side,  the  other 
side  having  fallen  in.  Suspended  in  front  is  an 
angel  holding  a napkin  to  his  weeping  eyes.  A 
cherub,  with  yellow  drapery,  stands  on  the  edge, 
grasping  the  grave  clothes  which  a second  cherub, 
suspended  above,  is  bearing  from  the  tomb.  The 
angel  wears  a loose  green  drapery.  The  wings 
of  the  cherubs  are  painted  in  polychrome.  The 
casket  itself  is  marbled  in  purple  and  yellow. 

The  modeling  of  this  group  was  done  by 
another  sculptor.  While  the  two  pieces  were 
probably  executed  independently,  they  fittingly 

[36] 


Plate  IX 


20.  Group  (The  Holy  Family) 
Seville 


. 


Plate  X 


21.  Group  (The  Holy  Family) 
Seville 


supplement  each  other  in  illustrating  the  Cruci- 
fixion and  Resurrection  of  Christ. 

Hard  paste  porcelain,  of  grayish  tint.  Capo 
di  Monte,  of  the  second  period. 

Late  eighteenth  century.  Plate  VIII 


III 

SPANISH  TERRA  COTTAS 

>.  GROUP  (THE  HOLY  FAMILY) 

Length,  17  inches. 

The  Virgin  seated,  with  Child  on  knee; 
Joseph  standing  in  background,  and  a woman 
kneeling  in  adoration.  An  angel  stands  at  one 
side,  offering  gifts.  Cherubs  surround  Mary’s 
feet.  The  modeling  is  particularly  fine.  The 
figures  are  painted  in  dull  reds  and  browns. 

Marked  Dona  Luisa  Roldan,  Es. 

This  sculptor  was  a daughter  of  Pedro 
Roldan,  a famous  carver  and  sculptor,  who  was 
born  in  1624,  and  belonged  to  a distinguished 
family  of  Seville.  Dona  Luisa  was  noted  for 
her  modeling  of  small  figures  and  groups.  In 
the  hospital  in  Cadiz  is  a good  example  of  her 
more  important  work  — a Magdalen  supported 
by  an  angel.  Her  work  belongs  to  the  latter 
half  of  the  seventeenth  century.  Plate  IX 

[41] 


21.  GROUP  (THE  HOLY  FAMILY) 

Length,  18  inches. 

The  Virgin  seated,  with  Child  on  knee; 
Joseph  kneeling  in  adoration.  An  angel  is  offer- 
ing gifts.  Above  Mary's  head  are  three  cherubs. 
In  the  background  stands  an  ass.  The  colors 
are  dull  red,  blue,  and  brown. 

The  piece  is  not  marked  and  may  be  of 
slightly  later  date  than  the  preceding.  It  may 
be  attributed  to  the  end  of  the  seventeenth  or 
beginning  of  the  eighteenth  century.  Plate  X 

22.  GROUP 

Similar  in  treatment  to  preceding  but  of 
more  recent  date,  probably  nineteenth  century. 
A dying  woman  surrounded  by  ministering 
angels  and  cherubs. 


[42] 


Date  Due 


Printed 

At  the  Sign  of  the  Ivy  Leaf  in  Sansom  Street 
Philadelphia 


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